[Ivan Myles]

Thanks for the info. It sounds like we can rule out quality and bid-depth settings. A few other questions:

[Ivan Myles]

Happy to help.

There are two types of renders for previewing: Render Effects in Work Area, and Render Entire Work Area. Enter is a shortcut to Render Effects. Adobe Help provides a brief description.

[Ivan Myles]

Not sure if that’s what you were looking for.

I thought there might be an All-I setting on the camera. I just looked through the user guide and did not see any, so please disregard.

As it turns out it doesn’t export in the render (both 422 HQ and Vimeo HD mp4) as far as I’ve noticed but it’s a bit irritating while editing.

Not sure if we are referring to the same thing. When previewing compressed footage it might be necessary to render the sequence so Premiere doesn’t need to decode and apply effects on the fly. From the main menu select Sequence > Render Entire Work Area.

To troubleshoot the issue we need to determine whether the flickering is a problem with the source file, reading the file, or previewing:

Are there any noticeable issues when looking through the video frame by frame?

Are you reading the file from a memory card or harddrive?

Did you render a preview of the sequence as described above?

If you export a short clip, do you see any issues with the output file?

[Ivan Myles]

I don’t work with ProRes but I have seen this with H.262, H.264, and VC-1. It looks like color blocking or banding, which occurs when two similar colors are remapped to the same color upon export. There are a few different causes:

quality was set to less than 100

bit depth was reduced

a higher compression codec was used

color changed from RGB to Y’CbCr

What were your export settings? Were any effects applied to the clip?

[Ivan Myles]

Sorry, just saw the H.264 in the title… but would still like to know the compression settings. Thanks.

[Ivan Myles]

[Ivan Myles]

Hi, Dan:

The above image shows the Stabilize Motion utility in After Effects; the plots are not available in Premiere Pro. My intent was to explain the concept.

Yes, you will need to stabilize without cropping. It is usually not that hard to visually identify where the peaks occur; I just zoom into one of the corners and scrub through the sequence to find the points where the borders are maximized. After completing one corner I repeat the process on the opposite corner.

Another method would be to overlay a title containing a target rectangle with dimensions that are inversely proportional to your desired scaling factor. For example, with 1920×1080 footage that you do not want to scale more than 107%, create a rectangle with dimensions (1920×1080)*(100/107)=(1794×1009). Set the rectangle to be either border only (no fill), or lower opacity of the fill area to below 50%. Scrub through the video and identify the points at which the crop border is too big.

Create Position keyframes at the points where the borders are largest. An easy way to spot these points is to identify when the motion changes direction. Once you find a maximum, use trial and error to determine new X and Y Position values that sufficiently decrease the black borders.

[Ivan Myles]

Out points come after the frame where the cursor sits (i.e. the current frame is included in the clip). This is easier to understand when setting in and out points in the Source Monitor.

The cursor needs to be one frame before the next clip when setting the out point on the timeline.

[Ivan Myles]

It takes more than one step, but an alternative approach is to create a nested sequence. Premiere treats the nested sequence as one clip on the timeline.

[Ivan Myles]

Glad to help.

This giant clip was the result of editing I was doing in FCP, and then exported are ProRes, as a flatened media file. In the future I will editing in Premiere, so then it will be possible to apply WARP to the individual clips in the timeline.

Not to worry! Use the razor tool to cut the flat file into a series of clips. Alternatively, open the file in the Source Monitor, set in and out points for each shot, and drag the clips onto the timeline one at a time. Then apply Warp Stabilizer to each clip independently.

I gather then, that if I apply a smoothness setting across all the clips in the project, they will be analyzed separately, and the resulting zoom factor (or crop) will be unique to each clip. So that clip where there was alot of camera shake, will be zoomed in more than a clip that was very stable to start with. Am I getting this right?

Yes.

Also, can I apply WARP across multiple clips in one step?

Warp Stabilizer can be applied to a nested sequence. Create a new sequence with the clips you want to group, and then insert it into the main timeline. Apply Warp Stabilizer to the nested sequence and it will treat the embedded clips as a single clip.

That said, I don’t recommend doing this. To the best of my knowledge, Warp Stabilizer does not have scene detection. When the smoothing curve for one shot is carried-over to the next shot, the beginning of the next shot will get screwed up.